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The real-life inspiration for Michael Richards' Seinfeld character Cosmo Kramer has lost a $1 million (£588,235) defamation lawsuit against comedian Fred Stoller. Funnyman Kenny Kramer, a former neighbour of Seinfeld co-creator Larry David, accused Stoller of portraying him as a homophobe in his recent memoir after describing how guides on Kramer's New York bus tour allegedly shouted one of the show's famous lines, "Not that there's anything wrong with that", at community members whenever they took tourists through the historically gay-friendly neighbourhood of Greenwich Village.
However, the suit was thrown out of a Manhattan court on Monday (14Jul14) after Justice Barbara Jaffe ruled there was nothing offensive about the mention in Stoller's 2013 release, Maybe We'll Have You Back: The Life of a Perennial TV Guest Star.
She noted, "The phrase expressly conveys the notion that there is nothing wrong with being gay. In that respect, it cannot be considered homophobic."
Stoller served as a comedy writer on Seinfeld for one season and also appeared onscreen as annoying character Fred.

NBC Universal Media
Next fall, NBC will air The Biggest Loser to its Thursday night lineup, giving it the 8 PM slot. Once football season ends, the network will put its only true hit from this season, The Blacklist, at the 9 PM slot on Thursday. Why is any of that news? Because it means that for one of the few times since 1983, NBC will not air a block of sitcoms during the 8 - 10 PM timeslots.
NBC's Thursday nights has been the home to some of the biggest hits and most influential sitcoms in history, and while the network's programming strategy might make business sense it's hard not to feel a little sad at the end of what became one of the medium's few constants.
The Beginning
The Peacock first experimented with the idea of grouping sitcoms on Thursday during the 1983 - 84 season with a rotation of shows that included fare like Gimme a Break and We Got It Made… but it also included a pair of building blocks that would provide the basis for what was to come.
The following season in 1984, NBC debuted its first classic lineup on Thursdays with holdovers Cheers and Family Ties, paired with The Cosby Show and Night Court. The formula of two smart family sitcoms during the 8 - 9 PM hour and then two slightly more adult oriented sitcoms between 9 - 10 PM wasn't new — CBS did the same thing throughout much of the '70s — but the quality of the four shows was so good that it was hard for the grouping not to standout.
NBC's success on Thursdays — particularly with The Cosby Show, which at its peak was averaging nearly 30 million viewers a week — propelled the network to its first standalone win in the season ratings since Nielsen started keeping track in 1960.Cheers and The Cosby Show anchored the night for the rest of the decade until a little show about nothing came along to keep the ball rolling.
In its early days, Seinfeld bounced around the NBC schedule in search of a home, sometimes airing after Cheers. When the Ted Danson sitcom finally ended in 1993, however, Jerry Seinfeld and Larry David's creation was ready to take over.
Seinfeld and Friends
Seinfeld, Mad About You, and starting in 1994, Friends became "Must See TV." For most of the next decade, Friends and Seinfeld were such strong ratings winners that they could carry a variety of weaker shows (Caroline in the City, Suddenly Susan, Veronica's Closet, etc.) that followed them. The pair of New York-based sitcoms became so iconic that Friends generated a fashion sensation as women rushed to have their hair styled like Rachel and Seinfeld fans quoted the show so much that phrases like "Master of your domain" and "No soup for you!" became part of the cultural lexicon.
When Seinfeld called it quits, the Cheers spinoff Frasier moved back to Thursday to stabilize the night for a couple of seasons until suitable replacement could be found. NBC found that replacement when it turned to a show about a group of friends far different from Courteney Cox, Jennifer Aniston, Matthew Perry and company: as Friends started to wind-down, the night became the domain of Will &amp; Grace. The sitcom about a gay man and his female best friend (Eric McCormack and Debra Messing), along with their two flakey cohorts (Sean Hayes and Megan Mullally), provided the network with another hit to build around.
Beginning of the End
When Friends came to a close, NBC's Thursday lineup went through a period of flux. The first signs of trouble began when Scrubs had difficulty finding a larger audience, despite being well received by critics. With ratings dropping, The Apprentice spent time in the 9 PM Thursday slot, as did Deal or No Deal.
The comedy lineup reemerged, however, in 2007 when Tina Fey's 30 Rock joined The Office, My Name Is Earl and Scrubs to form one more stellar block of sitcoms. By 2009, Community and Parks and Recreation had joined The Office and 30 Rock, but as smartly written as the group was, ratings never quite rebounded fully.
By this past season, when only Community and Parks remained and were grouped with the now canceled Welcome to the Family, Sean Saves the World, and The Michael J. Fox Show, the writing was on the wall. With not much more than The Big Bang Theory, CBS easily defeated NBC's offerings. With CBS' announcement that they would air NFL games on Thursdays in the fall, it became clear that NBC was going to have to counterprogram to keep from being trampled.
At some point, NBC lost its touch and patience for building sitcoms like Cheers, Seinfeld, and The Office... none of which was an immediate ratings success. That's too bad, but instead of lamenting the network's inability to come up with suitable sitcoms, it's better to sit back and marvel at the decades of comedy success that NBC managed to pull off. It was a heck of a run while it lasted.
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CBS Broadcasting
Not every show can go out on a good note. Sure, some shows like Breaking Bad come up with a conclusion that feels right and true to most fans. But usually, when a show has been on the air for a while, finding a tidy way to wrap things up can be a chore.
Even if it's been planned out since the beginning, as was the case with the series finale of How I Met Your Mother, it's hard to make people who have invested time in the characters feel like they've said goodbye in a satisfying way. While the fury swells over the HIMYM's controversial ending, it's helpful to distract ourselves with other epic finale fails Ted and his stupid blue French horn are up against.
The Sopranos
It's like the start of a joke… Tony Soprano walks into a diner.
That's how David Chase sets up the finale of his landmark HBO series. The Mafia boss made famous by the late James Gandolfini rifles through a jukebox at his table and picks out Journey's "Don’t Stop Believing." His wife Carmela (Edie Falco) joins him, soon followed by his son A.J. (Robert Iler). The diner is full. A guy in a hat sits at a nearby booth and may have eyed Tony when he was alone. Another guy in a Members Only jacket enters right before A.J. and seems kind of twitchy. Another pair of guys lingers near the counter. Tony's daughter Meadow (Jamie-Lynn Sigler) is late because she can't parallel park. The jacket guy walks past the Soprano's table and goes into the bathroom. Meadow, finally out of the car, walks towards the door of the diner. She reaches out to open it, the bell rings above the door and… nothing. Cut to a black screen.
Millions of Americans reached for their remote, sure that their TV sets had just completely screwed them over and were poised to call their cable company... when suddenly the credits started to roll. The shock that the series ended with a cut to black set fans howling and looking for answers. Did we go black because a bullet just went through Tony's head? Did the bell mean something? Were the potential threats in the diner just a part of Tony's normal paranoia? What the heck does any of it mean? Chase has steadfastly refused to provide much in the way of explanation, leaving a large section of the fan base furious over the ambiguity.
Seinfeld
The show about nothing decided to make the end about something. That's a problem. With Larry David back to write the final episode of the show that he created with his friend Jerry Seinfeld, the group is about to have some good fortune. The show-within-a-show created by Jerry and George (Jason Alexander) finds new life and the duo, along with Elaine (Julia Louis-Dreyfus) and Kramer (Michael Richards), are jetting off to Paris to celebrate in a private jet courtesy of NBC. But, some mechanical issues ground them and while they wait, they stand around making jokey comments about a car-jacking that they're witnessing. Next thing you know, we're in a court room with every ancillary character in the history of the show, each with his or her own story of how horrible Jerry and his friends are. The foursome is led to a single jail cell after being convicted under a Good Samaritan law and, essentially, starts having a conversation the same as they would at Monk's or Jerry's apartment.
As the credits role, Jerry, dressed in prison orange, performs a stand-up routine for the other inmates. The finale was bloated, lazy, and worst of all, not funny… with jokes falling flat left and right. Apparently most of the humor was supposed to come from the audience seeing the Soup Nazi or Newman one last time. For a show that had delivered consistent laughs throughout its entire run, not remaining true to the style of humor that had made it a cultural phenomenon was the ultimate sin.
St. Elsewhere
The critically acclaimed '80s medical drama had a very loyal fan base that kept it on the air. It's hard to remember but the Boston-based show was the career launching pad for a number of actors, Denzel Washington and Mark Harmon chief amongst them, and was a major influence on later hospital series like ER and Grey's Anatomy. In the finale, a bearded Howie Mandel leaves after finishing his residency and David Morse's soulful Dr. Morrison collects his young son to depart as well. As the show's moral center Dr. Westphal (Ed Flanders) returns to his office, his autistic son (Chad Allen) stares out the window at the falling snow.
Cut to: Westphal now dressed as a construction worker entering an apartment where his son is on the floor staring at a snow globe. What's inside the globe? A replica of St. Eligius Hospital, or St. Elsewhere, as it's more commonly called. So, the whole show was just something that played out in the mind of an autistic boy? Is that it? Really? The whole "it was all fake" ending worked exactly once with the brilliant final reveal on Newhart, but that's it.
Dexter
The closet serial killer played by Michael C. Hall is getting out of the game. With his girlfriend Hannah (Yvonne Strahovski) and son Harrison (Evan and Luke Kruntchev) in tow, he's going to skip out to Argentina and lead a more peaceful life... then a criminal shoots Dex's sister Debra (Jennifer Carpenter). Even though she seems fine, she suddenly lapses into a coma after a massive stroke. Dexter kind of matter-of-factly kills Saxon while he's in police custody, sends Hannah and Harrison off to Buenos Aires, and then takes Deb off life support. He steals her body and dumps it into the sea, before faking his own death. Except when we see Hannah and Harrison way down south, Dexter isn't with them and Hannah is reading a news story about his presumed watery demise.
We hear Dexter in a voice-over explaining how hard it is to be him. So, where is he? Well, why don't we let every fan of the Showtime hit take over from here: "A lumberjack?! He's a f**king lumberjack?! What do you mean he's a f**king lumberjack?!" Before that final scream-inducing reveal — seriously, how many TV sets were broken when remotes went sailing into them immediately after the shot of bearded Dexter? — the episode was pretty lifeless, moving from point A to B to C in a paint-by-numbers kind of way.
Roseanne
Just like with Seinfeld, the ending to Roseanne Barr's long-running sitcom felt like a cheat. Really it was a case where the show probably should've ended a couple of seasons before it actually did. The final season was an unmitigated disaster as the Connors won the lottery and the entire premise of the show changed, becoming a distorted rumination on the meaning of life. In the final episode, we see the cast of the show gathered around the kitchen table eating, laughing, and joking. Then a voice-over from Rosanne tells us that what we've been watching was a figment of her imagination. She's changed things from real life as she's written, including having Dan survive the heart attack that actually killed him two years prior. Worse, she calls into question what parts of the show going back before the heart attack were real (what do you mean David is really Becky's boyfriend?). Considering that the show became a ratings juggernaut with its funny portrayal of the real issues that face lower-middle class Americans, being told that it was just the main character's alternate reality was a slap in the face. And, while it's fine for a finale to be packed with emotion — plenty of fans cried at the end of M*A*S*H and The Mary Tyler Moore Show — the final shot of Roseanne sitting alone on her couch was unnecessarily depressing.
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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NBC Universal Media
Jerry Seinfeld is known to most people for his iconic hit television sitcom Seinfeld (1989-1998), but his latest web series Comedians in Cars Getting Coffee is clearly his best work.
Interest in the show has been growing since its 2012 premiere, and the recent Seinfeld "reunion" tie-in with the Super Bowl has introduced many audiences to the show for the first time. The show, which streams on Crackle, is straightforward, and the brilliant title is not at all misleading. In each episode, Seinfeld and another comedian drive around in a classic car and share a cup of coffee. It's like a late night talk show but more genuine: Seinfeld chooses fellow comedians he is fond of, his guests aren't there to promote anything, and the conversations feel spontaneous and honest. Although we'll never know if the show is planned like other talk shows, there's a sense that the conversations are mostly improvised, and because Seinfeld's guests are fellow comedians, we trust that they aren't censoring themselves in front of the cameras as, say, a politician or movie star would.
Seinfeld's Comedians in Cars Getting Coffee is preferable to his famous sitcom because it is his purest artistic statement to date. At this point in his career, the respected comedian can do whatever he wants, and that he chooses to push the creative boundaries with each project is remarkable. In this case, Seinfeld offers a meta-commentary on the art of comedy. His encounters with guests like Louis C.K., Tina Fey, Chris Rock, and Larry David provide glimpses into the entertainment industry and the experience of being a professional comedian. More interestingly, they demonstrate what draws individuals to comedy in the first place. Comedy, Seinfeld and his guests suggest, is the ability to laugh at the absurdity of life and the irrational, meaningless experience of being in it. Whether it is Chris Rock's articulation of why bullying benefits children, Larry David's rant on why it doesn't matter whether he drinks coffee or tea, or Louis C.K.'s justification that he went into debt to buy a boat, there's a sentiment that none of it matters so they might as well laugh at it while they can.
Seinfeld has always been a brilliant observational comic, and most critics and fans deem his self-titled sitcom "a show about nothing." However, Comedians In Cars Getting Coffee is the ultimate show about nothing, but the irony is that as we follow Seinfeld and friends as they talk about the meaning of comedy and the meaning of life, nothing inadvertently becomes everything. It is doubtful that Comedians in Cars Getting Coffee will become as popular as Seinfeld, but as an artistic and comedic expression, it is by far Seinfeld's greatest achievement.
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Bravo
Continuing on with the witchcraft theme, this week's episode of The Real Housewives of Beverly Hills shows Carlton shopping around at a Wiccan store and talking about how she keeps a crystal in her bra to bounce off her negativity. Yolanda meets Carlton at the store where she learns about candles that tell the future.
Kyle and Joyce sip tea together while Kyle fills Joyce in on the dramatic dinner party with Carlton. Kyle is convinced that Carlton put a spell on her computer because the desktop randomly switched from family photos to negative words like "bigot" and "larva." The two decide to exclude Carlton from their trip to Puerto Rico, even though everyone else is going.
Yolanda visits her ex-husband Mohamed’s house to help with the going away party. Mohamed questions Yolanda’s outfit while her husband David says she looks "cute" which is why he and Yolanda are still married.
Brandi begins to suspect something that we pray isn’t true: Did Lisa know that Scheana was sleeping with Brandi’s husband when Brandi was pregnant? We really hope not, we love Lisa, but all that love would disappear in one second if that were true.
Carlton makes an active decision to ignore Kyle, even when they almost have to sit together at dinner. Luckily her husband is there to take the seat! Gigi gives a heartfelt speech, followed by one from Yolanda. Everyone cries... or are those just tears of boredom?
Yolanda asks Brandi why Carlton isn’t involved in the Puerto Rican trip and Brandi says because of the drama she started with Kyle. For the first time in Housewives history, Brandi sides with Kyle.
Kyle asks Brandi to give Carlton the matching ring to the necklace Kyle previously gave to Carlton as a peace offering. Lisa and Brandi attempt to give the ring as another peace offering, but Carlton won’t accept it, saying that it means nothing if Kyle can’t give it to her herself. "If anybody gets anybody to do their dirty work, that would be Kyle," says Carlton.
Kyle and Lisa go shopping for Puerto Rico. We find out that Joyce wasn’t at the party because her dad died. Yolanda and Brandi question cancelling the trip, but Joyce demands the trip go on. Now Kyle just needs a bikini.
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WENN/Marvel
The cast of Edgar Wright's superhero adventure, Ant-Man is growing at an exponential rate, and after the recent additions of Paul Rudd, Michael Douglas, and Michael Pena to the cast, Evangeline Lilly is now being considered to play the female lead.
Lilly is no stranger to genre film, after spending six years battling smoke monsters on Lost, and appearing in Peter Jackson latest The Hobbit movie. While the jury is still out on who the actress will play in the upcoming film, the scuttlebutt over at Variety is hinting that she might be cast as the daughter of Hank Pym (Douglas), and a love interest to Scott Lang (Rudd, Ant-Man himself). Since Lily is taking her first step into comic book filmmaking, we wondered what roles the rest of her Lost castmates could play. We've already heard rumors of Josh Halloway being considered to play Aquaman, or some other DC fixture, in the bizarrely cast Batman vs. Superman. We think his casting as Aquaman could work, given he plays the hook-handed and more roguish version of the character, and not the vintage boy scout of the sea of yesteryear that probably cries a lot after watching Finding Nemo. So now that we're in Lost mode, which superheroes can we match up with the other islanders?
Matthew Fox (Jack)What Character?: The Red HoodWhy: The Red Hood is a former incarnation of Robin who gets blown up by the Joker and feels betrayed that Batman never killed the dastardly clown in retaliation. Those are some Jack-level daddy issues. We've already seen Fox play maniacal in Tyler Perry Presents: Alex Cross, so maybe he could pull it off in a future Batman movie.
Terry O'Quinn (Locke)What Character?: Lex LuthorWhy: Terry O'Quinn is already bald so that's already a mark in his favor, but his period as "Evil Locke" showed that the actor exuded the right mix intelligence, charisma, megalomania to be Superman's greatest foe.
Naveen Andrews (Sayid)What Character?: ArchangelWhy: Archangel or Warren Kenneth Worthington III was a young rich playboy whose mutant powers manifested into a pair of giant wings that allowed him to fly. Several very comic book-like plot developments turned him into a dark and misunderstood anti-hero. Sayid had a similar slide into darkness during Lost and, Naveen Andrews is well-equipped to play a similar character.
Emilie de Ravin (Claire)What Character?: JubileeWhy: Jubilee is a young and feisty member of the X-Men. Actress Emile De Ravin has a lot of the same exuberance and sweetness that has made the character such a popular addition to the X-Men mythos over the years.
Dominic Monaghan (Charlie)What Character?: SpeedyWhy: Green Arrow's troubled sidekick grappled with a crippling drug addiction, and is generally underappreciated in the comics world for being the sidekick of a character whose only ability is to shoot arrows pretty well. Who is better to play Speedy than Dominic Monaghan, who plays a wounded drug addict extremely well in Lost.
Jorge Garcia (Hurley)What Character?: The KingpinWhy: Jorge Garcia has always played the nice guy, but maybe it's time for some career diversity. We want to see the actor take on a role that's really a 180 from anything that he's done before.
Daniel Dae Kim and Yunjin Kim (Jin and Sun)What Character?: The Wonder TwinsWhy: One of Lost's most crushing moments was the demise of Jin and Sun. In fact, we still wonder why Jin didn't leave Sun behind, no matter how painful it would have been, to raise their baby, but that's an Internet rant for another day. Bringing the actors back in roles where they would hardly ever be separated from each other is the only remedy for our post-Lost blues.
Harold Perrineau (Michael)What Character?: The PunisherWhy: Michael lost his only son on the island, and has done some unsavory things in order to find him. Loss has driven him to do some terrible things, but deep down he's still a good guy, just a bit misguided with the methods he uses.
Malcolm David Kelley (Waaaaaaaaaalt)What Character?: Franklin RichardsWhy: Walt seemed like a normal kid in Lost's first season. That is until he started using creepy backwards speak and was revealed to have some sort of mystical connection with the island that had viewers going "What the f**k is up with that kid". He could definitely play Franklin Richards who also seemed normal, before becoming a reality-warping mutant.
Michael Emerson (Ben Linus)What Character?: Doctor OctopusWhy: Michael Emerson played the manipulative and intelligent Ben Linus in Lost, and he'd be perfect to play Dr. Otto Octavius in the new Spider-Man series.
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NBC
In the 16 years since Seinfeld went off the air, we've seen parody web series, Twitter accounts, comic strips, and even a self-satirizing reunion on the seventh season of Curb Your Enthusiasm. The latest piece of show-about-nothing candy to which we're treated comes in the form of a Super Bowl commercial, combining Jerry Seinfeld's active web series Comedians in Cars Getting Coffee with the iconic characters from the 1990s sitcom.
Seinfeld and Jason Alexander, in character as Jerry and George Costanza, take to their old coffee shop haunt (which, apparently, has been renovated just a touch since '98) during the Super Bowl halftime show to grab a bite, trade insults, and quibble about the minutiae of daily life. It's a delightful bundle of laughs for anyone who loved Seinfeld... a community to which all sane adults subscribe.
You can watch the full 6-and-a-half-minute episode over at Seinfeld's Comedians in Cars Getting Coffee website. It might be just a taste of our old favorite show, but it'll tide us over until that play Seinfeld and Larry David are working on. You can also check out Seinfeld's CICGC episode with Seinfeld costar Michael Richards on the site.

Rockers Queen have paid tribute to their former producer David Richards, after he passed away on Friday (20Dec13). The British musician died at his home in Switzerland at the age of 57 following a long illness, according to reports.
Richards began his career in the 1970s at London's Chappell Studios, and moved to Switzerland to work at the newly-opened Mountain Studios just two years later, becoming the venue's chief engineer by the time he turned 21. He would later become the owner of the famed studios.
He rose to fame thanks to his collaborations with David Bowie, starting with his 1987 release Never Let Me Down, and teamed up with Queen on their final four studio albums, including 1986's A Kind of Magic and The Miracle in 1989.
Richards also worked on Iggy Pop's Blah Blah Blah in 1986.
The surviving members of Queen have remembered their old collaborator in a post on their official website, writing, "(Richards) will be remembered by many as a good friend. He was funny and generous and great company, a talented and capable man who had an instinctive 'magic touch' in the recording studio. His creative productions will be enjoyed for years to come."
British rockers The Cribs have also sent their condolences to Richards' family.
A message on their Facebook.com page reads: "We are very sad to have today received the news that our friend David Richards has passed away in Montreux. David was a producer that The Cribs always had a deep admiration for, having produced many of our favourite Queen records back in the 1980's/90's. We had the honour of recording with him back in the late summer of 2012, while working on preliminary sessions for 'In The Belly of The Brazen Bull'...
"We are so grateful that we got to work with someone who can truly be described as one of the masters. David - thankyou (sic) for your generosity, the fun times, and the inspiration. You will be missed, sir."

Bravo
Brandi, Brandi, Brandi. She does it again. Sure, we’ll make those of you that haven’t been watching read through before we tell you, but trust us. It’s another good one.
Yolanda’s brother and mother visit from Holland. The reason? Her husband gets himself a real Hollywood star. Movie stars step aside, David Foster is moving in and moving up.
Kim’s daughter graduates high school but she’s still not old enough to decide what she wants to wear, so, shopping spree!
Kyle still doesn’t believe the rumors about her husband. Apparently neither does Lisa’s husband. Lisa is still smarter than the bunch, stating that you just never know. Apparently Carlton’s cat gets just as good treatment as she does, getting to enjoy the benefits of acupuncture.
In the dressing room during tonight’s show, Brandi admits to Lisa about her sordid (sigh) love affair with Carlton. The two have previously made out, in a hot tub nonetheless. Lisa, sticking to her good form asks, “Why would you do that?” The look on Lisa’s face is utter confusion. And as much as we are confused alongside Lisa we have a few guesses. Loneliness. Curiosity. Did we hear you say attention? Yea, we didn’t think so.
Projections:
Kyle still doesn’t believe her husband cheated. And we still don’t care.
Lisa decides New York is the next best place to be and sends her husband to live there.
Brandi does something we claim to hate but secretly love.
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